Sinkane’s Gettin’ Weird (Alive at Spacebomb Studios) out today, limited edition vinyl out February 7th
New York’s Sinkane—the project of Ahmed Gallab—today digitally release a new EP Gettin’ Weird (Alive at Spacebomb Studios). A vinyl release has also just been announced, due out on February 7, 2020, and available on a “1970” colorway, “1956” colorway, and black vinyl. The 1970 colorway and black vinyl editions are available to pre-order now from the Spacebomb Records online store, and the 1956 colorway is available exclusively at Rough Trade.
Gallab explains the significance of the vinyl colorways and their titles as they relate to the Sudanese flags:
1956: The year Sudan gained independence from Britain and Egypt
1970: Adopted after Gaafar Nimeiry’s coup, this flag (still the country’s official flag) is controversial and is based on the Arab Liberation Flag which is shared by Egypt, Iraq, Syria and Yemen that uses subsequent pan Arab colors in which green in less significant.
A quick follow-up to the critically acclaimed full-length album Dépaysé (City Slang), which the Sudanese-American musician described as “the story of an immigrant’s journey of self-discovery in the Trump era,” the new EP takes five songs from that album and one from 2014’s Mean Love (“How We Be”) and reimagines them with the help of the Spacebomb House Band: producers Cameron Ralston and Pinson Chanselle, with Matthew E. White as executive producer, and multi-instrumentalist and arranger Trey Pollard.
Gallab on the recording experience:
When I was approached to work with the Spacebomb family, I thought it would be a great opportunity to let my freak flag fly. I gave them my catalog and said, “Let’s get weird!” What came about was a re-approach to some Sinkane songs. We took what was there and turned it inside out. It got weird and it was a lot of fun!
Andy Jenkins’ The Garden Opens EP out now
Sometime in 2016, Alan Good Parker sent me a track from his home studio (known as “The Nursery” since it shared space with his son’s crib) and I sang a line to it right away kicking off a season of collaboration, a little microclimate of songwriting and recording strictly for our own pleasure. I had wrapped up Sweet Bunch, but was still figuring out how to release it. A side project felt like a good thing to do in the meantime. Alan had a name picked out too, which I am legally unable to share with you due to a certain nascent boy band that some people have a lot of money invested in, but that’s another story. Anyway, I’m so glad that the songs on The Garden Opens will be available now, albeit under my own name.
Alan and I moved at a casual pace across 2017. We sprung for sporadic sessions at Montrose Studios, run by our buddy Adrian Olsen, situated at the end of an unmarked gravel road that feels like you’re out in the country. Alan, the best guitar player I’ve ever seen, played all the instruments and sang harmonies and I wrote all the words and sang lead. Papa played bass, mama played fiddle, and way off in the future I think any music that is still written and performed by humans will be classed as “country music” for efficiency’s sake.
I work in a historic garden when I’m at home–the grounds of a sprawling 15th century Tudor mansion that a couple bought in England in the 1920s and plopped down here on the James River. The house is a museum now and the gardens are very lovely and very old, and Rocket the orange tabby has free range of the land. I read somewhere that keeping a garden is an exercise in hope, that planting anything is an optimistic move, shows you believe in some kind of future. I think that deep dawn, recording music comes from pretty much the same impulse.
Song titles and their subtitles:
If It Might Be
Regarding the Marriage at Cana, what if the wine believed it had turned a man to God?
Feed a cold, starfish fever.
Like ships passed out in the night.
I would do anything for love (including but not limited to that).
Andy Jenkins – The Garden Opens (SB034)
DIG EP | 10.18.2019